Tuesday, January 22, 2013

Inaugural Weekend Reflection: "A generous national spirit"


by Peter Montgomery

As tempting as it was to join the happy crowd on the national mall, my partner Dan and I decided to watch the presidential inauguration from home this year. We wanted to be absolutely sure we’d be able to hear the president and the poem by Richard Blanco

Even sitting at home in our basement it was exciting to the point of making us giddy. We loved the president’s address, his call for policies that reflect a generous national spirit, his rebuke to political absolutism masquerading as principle, his explicit recognition that legal equality for gay Americans is part of a national lineage that includes the women’s suffrage movement and the African American civil rights movement. We loved all the Latino voices on the platform, including Justice Sonya Sotomayor, Rev. Luis Leon, and Richard Blanco. Blanco’s poem struck me as gloriously Whitmanic – both broad in scope and exquisitely detailed, invoking the expansive diversity of America and the one ground we share, the one sun, the one moon – in the spirit of Walt Whitman’s “one air that bathes the globe.” We loved being able to share our happiness with friends on Facebook.

The spirit of the whole event – exuberant, hopeful, determined – was a blessedly stark contrast to several speakers at a prayer breakfast I attended just before the inaugural. It wasn’t an official event; it was billed as a nonpolitical gathering to pray for the president and the country. But the message of the keynote speaker could not have been further from the spirit of the inauguration. He preaches that God’s judgment is on America, that the 9-11 attacks were a warning shot from a God angered that the country had turned away from Him, and that our economic troubles were the next round of divine punishment for not responding correctly to the terrorist attacks. Another speaker warned that legal abortion, acceptance of homosexuality, and our policies toward Israel are national sins that will cause our land to vomit us out of it. 

I spend more time than is good for my soul listening to people who think like that, and I could not have been more grateful to rush home to my loving husband and join millions of Americans watching the inaugural in a spirit of celebration and gratitude. (And, for the record, any one of the preachers who keep insisting that President Obama is out to drive people of faith out of our public life should listen again to the prayers, music, and message of the inaugural.)

Sunday was a big day, too. Martin Luther King Sunday is kind of like Christmas and Easter at my church, All Souls Church, Unitarian, in Washington, DC. One of our associate ministers was murdered in Selma, where he had answered Dr. King’s call for a multiracial, multifaith nonviolent resistance movement. I reveled in singing with our combined choirs and spectacular soloists. I was challenged to consider the difficult imperative of pursuing justice in community and partnership with people who have differing religious perspectives. And I was left with a phrase of King’s I don’t remember having heard before. It comes from his Nobel Peace Prize acceptance speech:

"I accept the Nobel Prize for Peace at a moment when twenty-two million Negroes of the United States of America are engaged in a creative battle to end the long night of racial injustice. I accept this award in behalf of a civil rights movement which is moving with determination and a majestic scorn for risk and danger to establish a reign of freedom and a rule of justice."

“Majestic scorn.” I can’t stop turning over that phrase. It conveys the dignity and courage of a civil rights movement grounded in the spirit and practice of nonviolence. And, less nobly, it conveys how I feel these days toward political leaders who tried to destroy this president through lies, fear, and conspiracy theories. It didn’t work. But it has taken its toll on our ability to hear, trust, and work with each other.

Sunday night I attended the Peace Ball as a guest of Adele Stan, a good friend and brilliant colleague. I’m not much of a dress-up-and-go-to-fancy-party type, but we did, and I have to say we looked and felt fabulous. The rainbow-colored feather boa I grabbed in a last-minute inspiration was a surprisingly big hit with folks at the ball -- I’m not used to strangers asking to have their picture taken with me! The atmosphere was fun and festive, and it was great to spend a few hours with Addie, until our feet gave out. 

My feet had gotten a workout the night before: on Saturday, People For the American Way held its own inaugural celebration, a party with board members, supporters, activists, and progressive politicians, including the hope-giving members of the Young Elected Officials Network. On my way to the party it hit me just how grateful I was that this was a weekend of celebration, not a weekend of despair; that so many smart and creative people could be spending time strategizing about how to move the country forward rather than digging defensive trenches. Later, we attended the party of a friend who lost his husband earlier this year, a reminder that we don’t know when life will bring joy and when sorrow. 

And we don’t know how long we have to embrace our loved ones and kiss the earth. Or do what we’re here to do. Write what we’re here to write. Time to get back to work.

Friday, January 18, 2013

Poem of the Week: Jamaal May

Jamaal May
               

Pomegranate Means Grenade  

The heart trembles like a herd of horses.
--Jontae McCrory, age 11

Hold a pomegranate in your palm,
imagine ways to split it, think of the breaking
skin as shrapnel. Remember granada
means pomegranate and granada
means grenade because grenade
takes its name from the fruit;
identify war by what it takes away
from fecund orchards. Jontae,
there will always be one like you:
a child who gets the picked over box
with mostly black crayons. One who wonders
what beautiful has to do with beauty, as he darkens
a sun in the corner of every page,
constructs a house from ashen lines,
sketches stick figures lying face down-
I know how often red is the only color
left to reach for. I fear for you.
You are writing a stampede
into my chest, the same anxiety that shudders
me when I push past marines in high school
hallways, moments after video footage
of young men dropping from helicopters
in night vision goggles. I want you to see in the dark
without covering your face and carry verse
as countermeasure to recruitment videos
and remember the cranes buried inside the poems
painted on banners that hung in Tiananmen Square-
remember because Huang Xiang was exiled
for these. Remember because the poet Huang Xiang
was exiled for this: the calligraphy of revolt.
Always know that you will stand nameless
in front of a tank, always know you will not stand
alone, but there will always be those
who would rather see you pull a pin
from a grenade than pull a pen
from your backpack. Jontae,
they are afraid.


-Jamaal May


From Hum (Alice James Books, Nov 2013).
Originally published in Callaloo.
Used by permission. 


Detroiter Jamaal May is the author of Hum (Alice James Books, Nov 2013), winner of the Beatrice Hawley Award, as well as two poetry chapbooks (The God Engine, 2009, and The Whetting of Teeth, 2012). His poems have been published widely with his most recent work appearing or forthcoming in Ploughshares, Kenyon Review, Blackbird, Michigan Quarterly Review, Gulf Coast, The Believer and New England Review. Honors include scholarships and fellowships from Bread Loaf Writers Conference, Cave Canem, and Callaloo, as well as several nominations to both the Pushcart Prize and Best New Poets anthologies. Jamaal is a graduate of Warren Wilson's MFA program for writers and recipient of the 2011-2013 Stadler Fellowship from Bucknell University. In addition to being a finalist at several national and international poetry slams, he is a three-time Rustbelt Regional Slam champion and has been a member of six national poetry slam teams, including the 2012 semi-finalist NYC LouderARTS team.

In this DC this weekend? Check out Jamaal reading this poem and others as he features at Sunday Kind of Love with Clint Smith this Sunday January 20th from 5-7pm at Busboys and Poets 14th & V location. Click here for more details!

                                                              ~
Poem of the Week is a project of Split This Rock: Poetry of Provocation & Witness. Split This Rock is dedicated to integrating poetry into public life and supporting the poets who write and perform this vital work.

Please feel free to forward Split This Rock Poem of the Week widely. We just ask you to include all of the information in this email, including this request. Thanks!

If you are interested in reading past poems of the week, feel free to visit the blog archive.    
 

Thursday, January 17, 2013

Second Annual Abortion Rights Poetry Contest

Sponsored by the Abortion Care Network and Split This Rock


Deadline: February 28, 2013
Free to enter!

After last year’s great success, Abortion Care Network (ACN), a national organization of independent providers and prochoice supporters, and Split This Rock (a national group bringing poetry to the public realm) announce our second annual poetry contest in conjunction with ACN’s annual meeting in March 2013.

The experience of women who seek abortion and other reproductive services is as varied as the individuals involved. For some, there is safety, relief, and good medical care. For others, there is doubt, harassment, and stigma. For all, health care takes place in a politicized context in which even the most basic choices about our bodies, sexuality, and childbearing can be scrutinized. Reproductive rights are also linked to a whole host of other social issues, such as women’s economic status and the accessibility of safe, affordable health care.

ACN and Split This Rock welcome the submission of poems on these themes. We will award the following prizes: First ($100), Second ($75) and Third Place ($50), and Honorable Mention. Judging will done by Split This Rock and ACN.

The first-place winner will be invited to read the winning poem at ACN’s annual meeting. The prize-winning poems will be published in the ACN’s quarterly newsletter, The Provider, in the conference program distributed to all meeting attendees, and on Split This Rock’s website at www.SplitThisRock.org. Poets from any part of the U.S. may submit poems, but we regret that no travel funds will be provided so that the winning poet may read at the meeting.

Read last year’s winning poems here: www.splitthisrock.org/contest_abortionrights.html

Submission Guidelines:
  • Submit up to 3 poems (6 pages maximum) by midnight, Thursday, February 28, 2013, in the body of a single email to: info@splitthisrock.org.
  • Attachments will not be opened. We will request Word attachments of finalist poems.
  • One entry per poet, please.
  • All styles and approaches accepted.
  • Free to enter.
  • Previously published in print is acceptable, but, please, not on the web.
  • Simultaneous submissions accepted. Please inform us at info@splitthisrock.org immediately if the poem has been accepted for publication elsewhere.
Questions? info@splitthisrock.org 

Friday, January 11, 2013

Poem of the Week: Richard Blanco

Richard Blanco
                                   
                                                                                
We were excited to hear that Split This Rock friend Richard Blanco had been chosen as the 2013 Inaugural Poet. Richard's poems have been an indispensable guide to growing up Cuban American and gay for many years. We recommend to you his three books, including Looking for the Gulf Motel, from which this week's poem is drawn. Congratulations to President Obama for his inclusive view of America and for his brilliant choice.
                                                    

Looking for The Gulf Motel 

Marco Island, Florida    

  
There should be nothing here I don't remember . . .

The Gulf Motel with mermaid lampposts
and ship's wheel in the lobby should still be
rising out of the sand like a cake decoration.
My brother and I should still be pretending
we don't know our parents, embarrassing us
as they roll the luggage cart past the front desk
loaded with our scruffy suitcases, two-dozen
loaves of Cuban bread, brown bags bulging
with enough mangos to last the entire week,
our espresso pot, the pressure cooker--and
a pork roast reeking garlic through the lobby.
All because we can't afford to eat out, not even
on vacation, only two hours from our home
in Miami, but far enough away to be thrilled
by whiter sands on the west coast of Florida,
where I should still be for the first time watching
the sun set instead of rise over the ocean.

There should be nothing here I don't remember . . . 
 
My mother should still be in the kitchenette
of The Gulf Motel, her daisy sandals from Kmart
squeaking across the linoleum, still gorgeous
in her teal swimsuit and amber earrings
stirring a pot of arroz-con-pollo, adding sprinkles
of onion powder and dollops of tomato sauce.
My father should still be in a terrycloth jacket
smoking, clinking a glass of amber whiskey
in the sunset at the Gulf Motel, watching us
dive into the pool, two boys he'll never see
grow into men who will be proud of him. 
 
There should be nothing here I don't remember . . . 
 
My brother and I should still be playing Parcheesi,
my father should still be alive, slow dancing
with my mother on the sliding-glass balcony
of The Gulf Motel. No music, only the waves
keeping time, a song only their minds hear
ten-thousand nights back to their life in Cuba.
My mother's face should still be resting against
his bare chest like the moon resting on the sea,
the stars should still be turning around them.
 
There should be nothing here I don't remember . . . 
 
My brother should still be thirteen, sneaking
rum in the bathroom, sculpting naked women
from sand. I should still be eight years old
dazzled by seashells and how many seconds
I hold my breath underwater--but I'm not.
I am thirty-eight, driving up Collier Boulevard,
looking for The Gulf Motel, for everything
that should still be, but isn't. I want to blame
the condos, their shadows for ruining the beach
and my past, I want to chase the snowbirds away
with their tacky mansions and yachts, I want
to turn the golf courses back into mangroves,
I want to find The Gulf Motel exactly as it was
and pretend for a moment, nothing lost is lost.
  

-Richard Blanco
 
From Looking for The Gulf Motel (University of Pittsburgh Press). Copyright © 2012 by Richard Blanco. Used by permission of Stuart Bernstein Representation for Artists, New York, NY and protected by the Copyright Laws of the United States. All rights reserved.  

Author photo by: Nico Tucci 

Richard Blanco's acclaimed first book, City of a Hundred Fires, explores the yearnings and negotiation of cultural identity as a Cuban-American, and received the prestigious Agnes Starrett Poetry Prize from the University of Pittsburgh Press (1998). His second book, Directions to The Beach of the Dead (University of Arizona Press, 2005) won the 2006 PEN / American Beyond Margins Award for its continued exploration of the universal themes of home and place. His poems have appeared in numerous literary journals and anthologies. Blanco is recipient of two Florida Artist Fellowships, a Residency Fellowship from the Virginia Center for the Creative Arts, and is a John Ciardi Fellow of the Bread Loaf Writers Conference. A builder of cities as well as poems, he holds a bachelors of science degree in Civil Engineering and a Master in Fine Arts in Creative Writing.  Blanco is the 2013 Inaugural Poet.

                                                              ~

Poem of the Week is a project of Split This Rock: Poetry of Provocation & Witness. Split This Rock is dedicated to integrating poetry into public life and supporting the poets who write and perform this vital work.

Please feel free to forward Split This Rock Poem of the Week widely. We just ask you to include all of the information in this email, including this request. Thanks!

If you are interested in reading past poems of the week, feel free to visit the blog archive.   

Friday, January 4, 2013

Our only weapons our feathered selves

Sarah Browning Chooses Her 2012 Poem of the Week Highlights




As Director of Split This Rock I have developed a fairly catholic and expansive aesthetic. I am constantly moved and astonished by the great variety of approaches contemporary American poets are taking as they wrestle with the daunting social and political (and therefore personal) issues of our time – approaches of poetic style and form, of voice, of "take" on the issue itself.

I love every poem we choose for the weekly Poem of the Week series, all 165 since we launched in October 2009. But of course I have secret favorites, too. So this year, I thought I'd review the 50+ poems and remind myself which ones I particularly love. I cite them below with a brief comment and/or excerpt.

I invite you to do the same – type “Poem of the Week” into the handy little search box in the upper left of this screen and skim back through the powerful poems we've been privileged to publish this year. I promise you many rewarding moments. And feel free to post the names of your favorites in the comments here or on Split This Rock's Facebook page here. These are all poems deserving of multiple rereadings.

I am grateful to all of you – all the poets who’ve sent your work to us, those we’ve published, all the readers, all of you who pass the poems along, helping them find the broad readership they deserve.

Special thanks to my colleague Alicia Gregory, who makes the choices with me each week and does all the legwork of communicating with poets, sending the poems out, and posting them here. Praises!

Herewith, then, my subjective list of highlights, in reverse chronological order. You can click on the title to read the full poem:

Red-Tailed Hawk,” by Patricia Monaghan, December 28
I was deeply saddened when we lost Patricia in 2012. This poem from her book, Homefront, struck me as a perfect elegy: 
hawk,
a word of death and life
in balance, a word of death
and hunger and fierce pain
and beauty and devouring.

Margins,” by Heather Holliger, November 12
Following an historic election during which voters supported marriage equality around the country, I was excited by Heather's poem, the briefest we published all year, its concision capturing perfectly the hesitations and caution all LGBTQ people still live each day:
We love
at the margins of
democracy – between
a legislative building and
the touch of her hand
on my cheek.

The poem works me over with its suggestion of violence and death. I never tire of this extraordinary line:
my mind quiet as

a book         with a bomb         in its mouth.

 Skintight,” by Stephen Zerance, October 12
My skin--deaf, the narrator relates, as his family uses the famous Christmas Gift Guilt Trip to force him to conform to their notion of the masculine body. The poem is awkward, familiar, heartbreaking. 

Faith,” by Tim Seibles, September 28
One week after we featured this poem, the book in which it appears, Fast Animal, was named a finalist for the National Book Award. Deservedly. It’s one of my favorite books of the year. Praises.
Let's stop talking
about God. Try to shut-up
about heaven: some of our friends
who should be alive       are no longer alive.

barreras,” by María Luisa Arroyo, September 10
A poem of the health and environmental toll we exact from immigrant workers in this country. A poem, too, of – hallelujah – resistance.
María Luisa ArroyoFor once, though, my mother was proud of my English.

El jefe told me I could have been promoted
to the shampoo line.




Kandahar,” by Zohra Saed, August 3
I have found myself taken by very short poems this year, and this is another tight lyric that packs it all in.
Kandahar –
............Was once a cube of sugar
Refusing to dissolve in the sea.
It became a city from sheer stubbornness.

Apiary,” by Carolee Sherwood, July 19
Elaborate, extended metaphor of futility, all in a gorgeous package. What’s not to love?
Rows of veterans lean along the walls,
missing wings they lost in the war. The boys have dyed
their yellow stripes black, applied eyeliner, given into the sting.

Questions of identity, cultural appropriation, beauty, and the body roil together in this gorgeous poem:
hundreds
of daughters walking towards a foreign
house, parents looking askance, blurred.  
  
They say: absence is a color, the deep
brown of life which is always receding.

a sentence,” by Kevin Simmonds, April 27
An innovative, playful poem about police violence and racial profiling? This poet pulls it off. An excerpt won’t do in this case; another very short poem – go read it!

ReadingTranströmer in Bangladesh,” by Tarfia Faizullah, April 20
A model of a poem incorporating the words of another poet to great effect. Tarfia’s book, SEAM, recently won the Crab Orchard First Book Award. We await its 2014 appearance with anticipation!
I let in
the netherworld. Something
rose from underneath. I sit,
wait through my cousin's
sobs.

Arthritisis one thing, the hurting another,” by Camille Dungy, April 6
Written for Adrienne Rich in 2006, this poem arrived from Camille in our Inbox just days after Rich died March 27. We were coming off Split This Rock Poetry Festival, a monumental undertaking, and I was exhausted, incapable of accepting the fact that we had lost one of my heroes, a poet of great moral clarity and vision. A prophet. I was so grateful to have Camille’s words to honor Adrienne Rich, since I had none of my own at the time.
Last year was no better, and this year only lays the groundwork
for the years that are to come. Listen, this is a year like no other.

14 haiku,” by Sonia Sanchez, March 21
We finished our run of Poems of the Week by the 15 poets featured in this year’s festival with this poem for Emmitt Till. It was suddenly and tragically also a poem for Trayvon Martin and for all of the Black boys and men who are taken from us.
a mother's eyes
remembering a cradle
pray out loud

Across the Street from the Whitmore Home for Girls, 1949,” by Rachel McKibbens, February 24
A terrifying poem full of startling imagery. Like so many of Rachel’s poems, it uses the grotesque to expose the inhuman nature of childhood sexual abuse, that it should never feel commonplace or cliché.
In the morning, she is who she is again.
Her hair, a soft black brick, her body held together
by hammers.

The Street of Broken Dreams,” by Minnie Bruce Pratt, February 17
A poem from Inside the Money Machine, Minnie Bruce’s remarkable book of the American economic crisis and its toll on the working class. This poem is a rallying cry and I flat-out love it:
In another city, some foreclosed people got so angry
the big finance company had to hide its sign, AIG.
The people were so angry. That makes me feel more
safe, the people come out of their houses to shout:

We demand. Not rabble and rabid, not shadow, not terror,
the neighbors stand and say: The world is ours, ours, ours. 

Uncivil,” by Venus Thrash, February 10

Just in time for Valentine’s Day, Venus gave us what I will declare to be a Great Lesbian Love Poem. In a ceremony like but unlike a wedding – a big fuck-you to the state – the beloved is:
showing off
peek-a-boo cleavage & legs with no quit,
& our folks are here with tissues & hankies
bawling the way parents do at weddings

 
Take a Giant Step,” by Jose Padua, January 6
Waywardness as resistance and triumph. It was a great way to start an extraordinary year.
So go, like everything
that has decayed before us, everything that has
shattered so beautifully, go into that street
like a man crashing a parade with smelly clothes
and dirty skin, go into that building that’s on fire
because the sky is full of smoke and you are water.

Poem of the Week: Adam Wiedewitsch

Adam Wiedewitsch         


Here Were Buried     


On the anniversary of the largest mass hanging is US history in Mankato, Minnesota


in blue earth, among willows, aisles
of box-elder, elms, in the silence between
on the sand-bar in front
of town, south of the bend in the river
south of the prison camp
on the floor two-by-two in chains
a short horse-cart or army-wagon ride
west of the town square
the strict formation
of soldiers, cavalry, civilian mobs
around the scaffold, twenty-four feet square
twenty high, a gallows
for the procession in bonds, white-hoods
noose
a slow drum, the signal-beat for the knife
the day after Christmas
a week before emancipation
thirty-eight Dakota in unison death song
thirty-eight in two rows
feet together, their crowns


-Adam Wiedewitsch

Used by permission.


Adam Wiedewitsch is editor at Tongue: A Journal of Writing & Art, and co-founded the international organization, Pirogue Collective. He co-edited the anthology Imagine Africa and The Rule of Barbarism, poems by Abdellatif Laabi, both available from Island Position; and has been the recipient of fellowships from the Gorée Institute (Senegal), the Eva Tas Foundation (Holland), DAAD (Berlin), Millay Colony (New York) and Ledig House International Writers Residency (New York). His poetry has been published in Carapace (South Africa), New Contrast (South Africa), and Azul Press (Holland).

Please feel free to forward Split This Rock Poem of the Week widely. We just ask you to include all of the information in this email, including this request. Thanks!

If you are interested in reading past poems of the week, feel free to visit the blog archive.   

Wednesday, January 2, 2013

January Sunday Kind of Love: Jamaal May & Clint Smith

January Sunday Kind of Love
featuring
Jamaal May & Clint Smith 
         

   
Sunday January 20, 2013
   5-7pm
Busboys and Poets
2021 14th St. NW
Washington, DC

Hosted by:
Sarah Browning & Katy Richey
$5 online or at the door
As always, open mic follows!



Co-Sponsored by Busboys and Poets & Split This Rock



Join us on Sunday January 20th to celebrate MLK weekend and this month's Sunday Kind of Love as two poetry favorites, Jamaal May and Clint Smith, take the stage.


Detroiter Jamaal May is the author of Hum (Alice James Books, Nov 2013), winner of the Beatrice Hawley Award, as well as two poetry chapbooks (The God Engine, 2009, and The Whetting of Teeth, 2012). His poems have been published widely with his most recent work appearing or forthcoming in Ploughshares, Kenyon Review, Blackbird, Michigan Quarterly Review, Gulf Coast, The Believer and New England Review. Honors include scholarships and fellowships from Bread Loaf Writers Conference, Cave Canem, and Callaloo, as well as several nominations to both the Pushcart Prize and Best New Poets anthologies. Jamaal is a graduate of Warren Wilson's MFA program for writers and recipient of the 2011-2013 Stadler Fellowship from Bucknell University. In addition to being a finalist at several national and international poetry slams, he is a three-time Rustbelt Regional Slam champion and has been a member of six national poetry slam teams, including the 2012 semi-finalist NYC LouderARTS team.
 
Clint Smith is a poet, activist, and 10th grade English teacher from New Orleans, Louisiana. He is the 2012 Graffiti DC Grand Slam Champion and is a member of the 2012 Beltway Poetry Team, representing DC at the National Poetry Slam. Clint has performed and spoken at the International AIDS Conference, the Joint Center for Political and Economic Studies Conference, the African Leadership Academy, and the School for International Training. He has been featured on TVOne's premier poetry and music show, Verses & Flow, and has served as a cultural ambassador to Swaziland on behalf of the U.S. State Department, conducting poetry workshops with youth throughout the country focused on HIV/AIDS prevention, cross-cultural understanding, and self-empowerment. Following the 2012 Individual World Poetry Slam, he is the 5th ranked poet in the world.
 
For more information:
202-787-5210